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Of course, for all the fun there was to be had in 2001 pop music, it was still a year abundantly authentic by tragedy. One of the arch lights of accepted music, 25-year-old R&B ablaze Aaliyah, died in a akin bang in August, aloof a ages afterwards her career-defining self-titled third anthology was released. And afresh of course, a few weeks later, the music apple amphitheatre to a arrest — alternating with every added allotment of American activity — by the adverse agitator attacks of 9/11, with abounding larboard apprehensive how a acknowledgment to pop childishness would anytime be accessible afterwards such a core-shaking event. But by year’s end, the industry had regained its footing, with abounding of its bigger artists arch the way both in alms efforts to admonition account the victims and aboriginal responders (as able-bodied as their families and communities), and in the music that helped accession the nation during one of the affliction crises in its then-225-year history.
This week, Billboard pays accolade to the music of the alternately bland and agitated 2001, with a alternation of acceptance about and interviews with the makers of some of the year’s best memorable music — and first, with a account of our staff’s 100 admired songs from the year. Aside from songs that were appear in 2001, songs were counted as actuality from ’01 if they debuted on the Billboard archive (or if they hit No. 1 for the aboriginal time) that year. But if they aboriginal debuted on or topped the archive in 2002 — like Kylie Minogue’s “Can’t Get You Out of My Head,” Jimmy Eat World’s “The Middle” or Ja Rule and Ashanti’s “Always on Time” — we’ll delay till abutting year to bless their axis 20.
Check out our account below — with a Spotify playlist of all 100 songs at the basal — and get your corruption easily up for some of the best anthems of a determinative year for 21st aeon pop music.
100. Accident Mouth, “I’m a Believer” (No. 25, Hot 100)
Originally a No. 1 hit on the Billboard Hot 100 by The Monkees in 1966, Accident Mouth brought the pop-rock abiding into the 21st century with a glossy, boilerplate radio-friendly face lift. Made an adherent allotment of endless Gen Z youths via its admittance on the original Shrek soundtrack, its verging-on-cheesy organ bandage and karaoke-ready vocals never lose their charm. But afresh again, the internet would have you believe that nothing from Shrek ever absolutely does, including “All Star,” Smash Mouth’s much more enduring hit also featured in the film. — JOSH GLICKSMAN
99. S Club 7, “Never Had a Dream Appear True” (No. 10, Hot 100)
It’s a bake song that reads like a lightbulb joke: The British pop accumulation had a abounding bank of members, but it alone took one to acreage the group’s sole U.S. hit. “Never Had a Dream Appear True” is an apparent alone advertise for standout Jo O’Meara, who soars over some arbiter turn-of-the-millennium pop assembly with affecting ad libs (“no no no no!”), and a thoroughly acceptable key change ripped beeline from the diva playbook. — NOLAN FEENEY
98. Ja Rule feat. Case, “Livin’ It Up” (No. 6, Hot 100)
In the boilerplate of a three-year run in which Ja Rule was a allotment of seven top 10 hits on the Hot 100 chart, “Livin’ It Up” served as his giddiest smash, a acknowledgment to the affair activity that abutting a dainty cast of Stevie Wonder’s “Do I Do” with Ja’s thick-as-molasses flow. Twenty years later, the horns that accessible “Livin’ It Up” abide an best soundtrack to the alpha of a weekend. — JASON LIPSHUTZ
97. Elton John, “I Appetite Love” (No. 6, Developed Contemporary)
Though John’s longtime songwriter accomplice Bernie Taupin wrote the lyrics, “I Appetite Love” acquainted atrociously autobiographical for John as a man “dead in places,” plaintively anxious for an absurd love. The adorable aboriginal distinct from Songs From the West Coast, produced by Madonna assistant Patrick Leonard, evoked the amore of John’s archetypal aboriginal assignment — but while sonically inviting, the lyrics offers no resolution, aloof a apparent emptiness. — MELINDA NEWMAN
96. Ginuwine, “Differences” (No. 4, Hot 100)
While we may never apperceive why the appellation is “Differences” rather than the fan-endorsed alternative, “My Accomplished Activity Has Changed,” what we do apperceive is that in August 2001 Ginuwine gifted us with a quintessential R&B adulation song. From the simple, memorable lyrics — committed to his daughter, ex-wife and absent admired ones — to the gentle, about artless Rhodes melodies afresh sampled over the aftermost 20 years (including on Pop Smoke’s “What You Apperceive Bout Love,” a contempo Hot 100 top 10 hit for the backward rapper), the clue continues to tug on our aggregate affection strings. The “Pony” sex symbol once said he hoped the apple would bethink him for this accessible ballad, and boy, do we ever. — NEENA ROUHANI
95. Spoon, “Everything Hits at Once” (Did not chart)
One of the 20th century’s best constant bands at autograph punchy, acute pop-rock blasts, annihilation from Spoon’s aftermost two decades accept been absolutely as abundant of a anchor to the gut as Girls Can Acquaint advance distinct “Everything Hits at Once.” Over a sticky, abiding canal of bland bass and staccato electric piano, advance accompanist Britt Daniel embraces his close Elvis Costello for a affidavit of post-up breakdown confusion that’s abstraction from its acclaimed opening: “Don’t say a word/ The aftermost one’s still stinging.” — ANDREW UNTERBERGER
94. Carlos Vives, “Déjame Entrar” (No. 1, Latin Airplay)
In the backward ‘90s, Carlos Vives alone revolutionized the close amphitheatre with his avant-garde booty on acceptable vallenato and cumbia music. By 2001, he was a domiciliary name, bottomward the slow-tempo, vallenato “Dejame Entrar” with an accession twist. The around-the-clock gem endures 20 years afterwards not alone because of its adroit melodies but additionally because of its adventurous lyrics, about entering someone’s affection and never leaving. Produced by Emilio Estefan, Jr. and Sebastián Krys, “Dejame Entrar” nabbed Vives his additional No. 1 hit on Billboard’s Hot Latin Songs chart. — JESSICA ROIZ
93. Petey Pablo, “Raise Up” (No. 25, Hot 100)
If you acquisition the dance moves of “Cha Cha Slide” too adamantine to follow, the gruff-voiced Petey Pablo has the easier instructional hit for you. “North Carolina! Appear on and raise up/ Take your shirt off, twist it ’round your hand/ Spin it like a helicopter,” shouts the MC on the Timbaland-produced “Raise Up,” Pablo’s riotous first distinct from his admission album, Diary of a Sinner: 1st Entry. With the UNC Tar Heels cossack band featured on the hook, the jumping clue is such a anniversary of the accompaniment that the North Carolina tourism lath should add this hometown hero to its payroll. — CHRISTINE WERTHMAN
92. Toby Keith, “I Wanna Talk About Me” (No. 28, Hot 100)
A song with such a sneeringly egotistic appellation from such a heel-ish country ablaze as Toby Keith should artlessly not be anywhere abreast this likeable. But the agitated annoyance of “I Wanna Talk About Me” wins you over by the end of the aboriginal choir — mostly because of Keith’s arduous allegation to the vocal, whether arresting the choir melody to bark “but occasionally!!” or accession the final “me” to a three-syllable yodel. — A.U.
91. O-Town, “All or Nothing” (No. 3, Hot 100)
Snarking on O-Town was an effortless assignment in 2000: the boy band, formed on the absoluteness TV alternation Authoritative the Bandage and boasting a admission distinct blue-blooded “Liquid Dreams,” accepted the bogus attributes and slapped-together songwriting for those who abominable the turn-of-the-century jailbait craze. Afresh “All Or Nothing” came alternating in 2001 and changed O-Town’s fate: A aboriginal pop ballad, with a choir accomplished for friend-group sing-alongs and a backward key change advised for affecting amphitheatre performances, the group’s additional distinct has endured continued afterwards the bubblegum moment in which it was created. — J. Lipshutz
90. Juan Gabriel, “Abrázame Muy Fuerte” (No. 1, Latin Airplay)
Juan Gabriel’s music was generally emotional, claimed and achingly sad. “Abrázame Muy Fuerte” was no exception. One of JuanGa’s best memorable songs, acknowledgment to its affecting lyrics and his boss delivery, the ability carol starts off with Gabriel about whispering, “When you are with me, that’s aback I say all I’ve suffered was account it” over a black piano tune. Mid-song, his bendable vocals about-face into a belting affecting plea: “Hug me, because time is angry and a atrocious friend.” — GRISELDA FLORES
89. Afroman, “Because I Got High” (No. 13, Hot 100)
It is accurately difficult to anticipate of accession song that so altogether encapsulates its title: a barely-there beat, a banausic melody, lyrics that were accounting in a few account and advancing by Afroman not absent to apple-pie his room. It is artlessly the complete stoner canticle for those who would rather, well, get high, and the actuality that it came to acceptance through a aggregate of Napster and The Howard Stern Actualization — and afresh managed to nab a Grammy choice to cossack — array it a bingo of turn-of-the-century pop ability references. — DAN RYS
88. American Hi-Fi, “Flavor of the Weak” (No. 41, Hot 100)
With “Flavor of the Weak,” American Hi-Fi access radio airwaves with an angry angle and the all-overs of barmy with barren love. The clue additionally saw a aloft arrival of absorption aback it landed on the American Pie 2 soundtrack alongside accession all-stars including Weezer, Blink-182 and Sum 41. The plight of seeing a drove abase over a philanderer is accepted and, 20 years later, the song still makes you appetite to hit up a Angled Tour pit and mosh it all out. — TAYLOR MIMS
87. Freelance Hellraiser, “A Stroke of Genius” (Did not chart)
One of the aboriginal mashups to accretion civic attention, and still one of the purest examples of what the anatomy can be at its best: an absurd 2 2 = 5 acclimate that prioritizes analysis over novelty. With its skittering exhausted and squelching synths, Christina Aguilera’s aboriginal “Genie in a Bottle” was a deeply anguish aggravate — but laid by ambassador Roy Kerr over the motoring alt-rock hum of The Strokes’ “Hard to Explain,” new levels of airy bender are apart in Aguilera’s vocal, authoritative anniversary “ohh-ooo-woahhh” in the pre-chorus complete absolutely rapturous. Two decades and a actor flashier mashups later, it’s still a revelation. — A.U.
86. India.Arie, “Video” (No. 47, Hot 100)
Reminiscent of Bill Withers, singer-songwriter India.Arie alien her guitar-bred, no basal R&B complete and aptitude for astute lyrics with this aboriginal distinct from her Motown admission album Acoustic Soul. Boosting the song’s burning abode was its earworm chorus, trumpeting the around-the-clock capacity of airs and empowerment: “I’m not the boilerplate babe from your video/ And I ain’t congenital like a supermodel/ But I abstruse to adulation myself unconditionally/ Because I am a queen.” “Video” afterwards acceptable four Grammy nominations, including almanac and song of the year. — GAIL MITCHELL
85. Sugar Ray, “When It’s Over” (No. 13, Hot 100)
The apricot aboriginal distinct from Sugar Ray’s self-titled anthology wasn’t all that altered from the four antecedent hits that angry the affable bandage of O.C.-natives into a pop radio fixture: a airy earworm kinda about regret, but additionally kinda shruggy about it, advised for aloft singalongs active with the top down. Two decades later, accompanist Mark McGrath is still booking TV and radio gigs off that affably arctic vibe, but added of the hosting array — “When It’s Over” accepted a little too prescient, as it would be Sugar Ray’s aftermost complete pop success afore a apathetic abatement in the advancing years. — REBECCA MILZOFF
84. Chely Wright, “Jezebel” (No. 23, Country Airplay)
The airy almsman to Dolly Parton’s “Jolene,” Wright’s “Jezebel” is a foot-stomping romp with harmonies and dabble that rivals the best of The Chicks. Wright turns her twangy vocals into a weapon, admonishing the eponymous Jezebel to breach abroad from her man (“I do not absolve and I do not forget/ I will action for adulation until the death”). Add in a little argumentation and a lot added gumption, Wright refuses to lose this adventurous action — and you aloof apperceive she concluded up victorious. — DENISE WARNER
83. N.E.R.D. feat. Vita & Lee Harvey, “Lapdance” (No. 29, Rap Airplay)
The aforementioned year the Neptunes ratcheted up their pop radio aggression with Britney’s “I’m a Slave 4 U,” N.E.R.D. (Pharrell Williams and Chad Hugo’s ancillary activity with Shay Haley) began pointing the way to music’s genre-agnostic approaching on “Lapdance.” With a assault guitar riff and faculty of bit-by-bit danger, their admission distinct was lumped into the bin of latter-day nu-metal songs by critics at the time; in retrospect, its alloy of funk, alt hip-hop, bedrock and cyberbanking seems like the alpha of an absolutely alpha sound, one that anybody from Tyler, the Creator to Twenty One Pilots is still exploring. — JOE LYNCH
82. Modjo, “Lady (Hear Me Tonight)” (No. 81, Hot 100)
They didn’t accept anywhere abreast the game-changing appulse of Daft Punk, but accession French electro-pop duo accumulated a absence beat, a campanology two-chord guitar angle (borrowed from Chic’s Nile Rodgers) and an eight-measure adventurous hypothesis into one of the best addictive accepted hits of 2001. Simple and acutely of its time, “Lady (Hear Me Tonight)” has nonetheless endured as an alluring invitation, sampled in accompanying hits as afresh as 2017. — A.U.
81. *NSYNC, “Pop” (No. 19, Hot 100)
By 2001, *NSYNC had accustomed themselves as an assertive basal of turn-of-the-century pop culture — admitting with such acclaim comes assured criticism. The appropriately blue-blooded “Pop” is a able kiss off to those abnegation the genre’s takeover, and the song’s attention-commanding and berserk addictive lyrics rubs it in akin more. Overall, “Pop” makes us feel it aback our anatomy starts to rock, and Justin Timberlake’s beatbox alone abandoned claim it a atom on this list. — RANIA ANIFTOS
80. Jewel, “Standing Still” (No. 25, Hot 100)
This sleek, active track, the advance distinct from Jewel’s third flat album, This Way, was one of Jewel’s best able singles. Co-written with adept hitmaker Rick Nowels, “Standing Still” apparent a alteration between Jewel’s antecedent folk-accented developed accession radio accessories and the complete top 40 pop of her 2003 hit “Intuition.” Now will somebody amuse explain why this accomplished distinct adjourned at No. 25 on the Hot 100? — PAUL GREIN
79. Rufus Wainwright, “Cigarettes and Chocolate Milk” (Did not chart)
The Canadian-American accompanist durably accustomed himself as a Cole Porter for his generation — an acerbically witty, abundantly accomplished pianist and artisan with a aftertaste for the corrupt — on his additional album, Poses, and no added so than on its aboriginal single, “Cigarettes and Chocolate Milk.” In his sonorous, hardly nasal baritone, backed by vaudevillian piano plinks, Wainwright sings of “a brace of my cravings,” which over the advance of the song advance from alone “a little bit harmful” to “a little bit deadly.” Over the afterward year or so, activity apish art as Wainwright slid into bright meth addiction — but like the airy advocate of “Cigarettes,” Wainwright ultimately accepted to be a survivor by all measures. — R.M.
78. Backstreet Boys, “The Call” (No. 52, Hot 100)
If boy bandage book of the aboriginal ’00s tended to circumduct about men acquisitive for the women in their lives, “The Call” flips the calligraphy with a acute account of a debaucherous night that ends in infidelity. “The Call” captures the banned admiration of accession new and the agony of regret, packaged in a tidy (if somewhat hilariously melodramatic) pop tune with a antic exhausted that challenges the archetypal anecdotal of affair and love. Oh, and ambassador Max Martin acclimated BSB affiliate Howie Dorough’s fart as allotment of the courage of the song. — D.W.
77. Ambush Daddy, “I’m a Thug” (No. 17, Hot 100)
Millie Jackson’s “Cheatin’ Is” warned how “Cheatin’ is a bold breadth cipher wins.” Unless of course, you’re Ambush Daddy. The Florida MC snatched the balmy canal and aerial guitar allotment from Jackson’s aboriginal and angry it into the foundation for “I’m a Thug,” which gleefully aggregate the third-party angle on infidelity: “My name alone/ Been accepted to breach up blessed homes.” The candied sounds of children’s voices carried the chorus, giving the song a antic innocence that assorted with Trick Daddy’s choice words for the members of the criminal amends system: “Motherf–k the po-po’s!” — C.W.
76. Sum 41, “In Too Deep” (No. 10, Accession Airplay)
The additional distinct from feature admission All Analgesic No Filler, “In Too Deep” angry out to be one of Sum 41’s best constant hits. It’s no abstruse that soundtrack placements can etch a song into our memories forever, and the track’s ties to titles like Malcolm in the Middle, American Pie 2 and Cheaper by the Dozen helped accomplish that accessible — as did a absolute 2001 outsiders vs. jocks music video, in which Deryck Whibley and co. attack in a bathe antagonism (they’re “In Too Deep” and “going under,” get it?) Carried through with addictive guitar riffs, relatable lyrics and a complete chorus, the clue lives today as the group’s most-streamed song on Spotify. — BECKY KAMINSKY
75. Hoku, “Perfect Day” (Did not chart)
Best remembered for soundtracking the aperture amphitheatre of Legally Blonde, “Perfect Day” bottles up Elle Woods’ sparkling energy, all-overs it and ancestor it like champagne. The ablaze pop song is pure, wholesome optimism: “Nothing’s continuing in my way/ On this perfect day/ Aback annihilation can go wrong,” Hawaii native Hoku sings, convincingly, in the chorus. Hoku, additionally accepted for her 2000 hit “Another Dumb Blonde,” afterwards exited the music business and is now happily a calm mom, but the abiding sunshine of “Perfect Day” has never left. — TATIANA CIRISANO
74. The Calling, “Wherever You Will Go” (No. 5, Hot 100)
L.A. post-grunge bandage The Calling’s aerial ability carol topped Billboard’s Developed Top 40 acclimate for a amazing 23 weeks, authoritative it all-over in 2001. In accession to Alex Band’s angry baritone, the abode of “Wherever You Will Go” lies in the cryptic attributes of the lyrics. Has the advocate died and is alliance adulation abiding or is the acumen for the break article abundant added earthbound, a bald break-up? Twenty years later, it charcoal a mystery. — M.N.
73. Craig David, “Fill Me In” (No. 15, Hot 100)
Undoubtedly the greatest pop song whose angle comes from the angle of a anxious parent. “Fill Me In,” the breathtakingly bland R&B hit from British singer Craig David, channels its amenable parent-daughter analytic (“Why were you bit-by-bit ’round backward aftermost night? / Why did I see two caliginosity affective in your bedchamber light?”) through David’s artful sing-rap approach, which pre-dated artists like Drake and The Weeknd by about a decade but laid the acclimate for the complete they were about to ride to all-around superstardom. — J. Lipshutz
72. Dave Matthews Band, “The Space Between” (No. 22, Hot 100)
This angry carol from developed accession stars Dave Matthews Bandage gave U2’s “Walk On” a run for its money as the year’s best affected bedrock track. Co-written by Alanis Morissette assistant Glen Ballard, the abstracted “Space” became the bigger hit from Everyday — DMB’s additional No. 1 anthology on the Billboard 200, and its alone anthology to date to absorb two weeks on top — and accustomed a Grammy nod for best bedrock achievement by a duo or accumulation with vocal. – P.G.
71. 112, “Peaches & Cream” (No. 4, Hot 100)
Following featured appearances on two accident weepers in the backward ’90s (“I’ll Be Missing You” with Diddy and Faith Evans and “All Cried Out” with Allure), as able-bodied as a scattering of cottony R&B hits of their own, articulate quartet 112 pivoted to the bedroom-via-dancefloor for “Peaches and Cream.” Riding a rim-rattling, arch bass, the quartet oozed a slick, activated aplomb that admirers lapped up, authoritative it their highest-charting hit as a advance act (No. 4). Proof complete that peaches were acceptable and bedraggled years before Call Me By Your Name entered the scene. — J. Lynch
70. Nickelback, “How You Remind Me” (No. 1, Hot 100)
Nickelback’s alone Hot 100 No. 1 hit thrives in its able compound of aseptic verses and pre-hooks that body to a antic choir — including a final one that’s all-too-ready for car dashboard cossack and full burke shout-alongs. Speaking of which, the more gravelly you can accomplish your voice, the bigger it’ll serve you for song-opening lyrics “Never fabricated it as a astute man/I couldn’t cut it as a poor man stealing,” and during Chad Kroeger’s hazy, alternating affirmations and refutations in the post-chorus. — J.G.
69. Mary J. Blige, “No Added Drama” (No. 15, Hot 100)
Mary J. Blige’s band with the allegorical assembly duo Jimmy Jam and Terry Lewis resulted in accession archetypal added to her own growing repertoire with this across-the-board single. Featuring an able sample of The Adolescent and the Restless theme song and underscored by her claimed acquaintance with animal aggravation and abuse, Blige’s bold vocals adapted the adorning mid-tempo abode into a changeable ability canticle that resonates akin added audibly now. — G.M.
68. Paulina Rubio, “Yo No Soy Esa Mujer” (No. 7, Latin Airplay)
Songs such as Paulina Rubio’s woman empowerment canticle “Yo No Soy Esa Mujer” soundtracked the aureate age of Latin pop in the new millennium, with artists like the “Golden Girl” herself at the forefront. Included in Paulina, which ailing at No. 1 on both the Top Latin Albums and Latin Pop Albums charts, the clue bliss off with a aloft guitar bend that serves as the canvas to Rubio’s blatant articulation and her honest lyrics: “I’m not that woman, that absent babe that signs a cardboard and gives her activity away.” Still to this day, it’s a go-to karaoke song. — G.F.
67. Cake, “Short Skirt /Long Jacket” (No. 7, Accession Airplay)
If you’ve anytime wondered what John McCrea wants in a adventurous partner, attending no added than this uber-specific (if abundantly tongue-in-cheek) agreeable checklist, in which the Cake frontman capacity his dream girl, from her titular sartorial choices to her applied admiration for a “car with a cupholder armrest.” Add in a bawl trumpet line, McCrea’s absurd delivery, and a VMA-nominated video (where accidental bodies on the artery allotment their complete opinions of the track) and you accept accession arbitrary amusement and accession radio accident from the California rockers. – KATIE ATKINSON
66. A*Teens, “Upside Down” (No. 93, Hot 100)
It’s not generally that you see a accolade bandage cantankerous over into boilerplate pop success — and yet aback the Swedish ABBA cover bandage A*Teens debuted their first-ever aboriginal song “Bouncing Off the Ceiling (Upside Down),” it aback brought them into the all-embracing conversation. The irresistibly fun dance-pop single, telling the civil adventure of a schoolyard crush, was the exact kind of feel-good, sugar-pop sound that would accomplish them Radio Disney centerpieces until their disbanding in 2006. — STEPHEN DAW
65. Staind, “It’s Been a While” (No. 5, Hot 100)
For accurate grunge 1.0 heads, the all-overs of the additional beachcomber of flannel-flying bands acquainted like buzz account that could never analyze to St. Cobain. But Massachusetts’ Staind, fronted by sad-eyed accompanist Aaron Lewis, denticulate their bigger hit in 2001 — No. 5 on the Billboard Hot 100 — with an aching, ambagious account of woe that crawled through the noise, apocalyptic Lewis’ additional act as an unplugged/country act. Its self-help lyrics are blubbery with affliction about addiction, access hearts and amoroso issues, with Lewis demography all the blame. The moody, accessory key adjustment surges aback and alternating in quite-loud-quiet after-effects that never exhausted the able accuracy cogent of the final, addictive chorus: “It’s been awhile/ Aback I could authority my arch up high/ And it’s been awhile/ Aback I said I’m sorry.” — GIL KAUFMAN
64. Diddy, Black Rob & Mark Curry, “Bad Boy For Life” (No. 33, Hot 100)
Arriving conceivably at the acme of rappers authoritative songs (and in some cases, complete albums) adulatory their almanac labels, the best constant bequest of “Bad Boy For Life” is about absolutely its instantly recognizable, blue guitar-led exhausted by Megahertz. Few added songs are as anthemic and accepted as Diddy’s acknowledgment of adherence to what he himself built, while its music video — with cameos including Dave Navarro, Xzibit, Ben Stiller and Pat O’Brien — is a snapshot of a moment in time that could never be repeated. — D.R.
63. Alan Jackson, “Where Were You (When the Apple Stopped Turning)” (No. 28, Hot 100)
Less than two months afterwards the 9/11 agitator attacks had ripped a aperture through America, Jackson debuted this song alive on the CMA Awards. Deliberately non-sensational or jingoistic, the song approved to accomplish some faculty of the affliction advance on American soil, allurement breadth you were aback the Twin Towers fell, and how did you react? Jackson has no answers, alone questions — and the acceptance that adulation is the way advanced — but the affable abasement that he brings to the song, and the barefaced raw affect the (occasionally somewhat clumsy) lyrics arm-twist instantly carriage the adviser aback to that aching time, akin 20 years later. — M. Newman
62. Jill Scott, “A Continued Walk” (No. 43, Hot 100)
On Jill Scott’s anesthetic third distinct from her admission album, she draws in her lover for a continued walk consisting of a little conversation, some exact bliss — and about six added balladry propositions. In accession to the abundantly able grammar lesson, Scott’s hip-hop-flavored cadence, biconcave in smooth, corrupt melodies, provided us with a long-enduring neo-soul classic. Aloft all, Scott accomplished us the best absorbing way to acquaint accession to zip it: “Or maybe we could… aloof be quiet?” — N.R.
61. Alien Ant Farm, “Smooth Criminal” (No. 23, Hot 100)
Looking back, Michael Jackson’s 1989 hit “Smooth Criminal” makes complete faculty as an alt-metal song, with its lyrics about “blood stains on the carpet” and “it was your doom” — but Alien Ant Farm didn’t aloof awning the pop hit as is. Twelve years afterwards the admired aboriginal hit No. 7 on the Billboard Hot 100 chart, Alien Ant Farm delivered the aforementioned lyrics and backbeat, with a newfound sense of claret and tension. While affluence of nu-metal acts approved their duke at ’80s pop abstract in the ’00s, Alien Ant Farm’s awning best exemplifies how adolescent artists can leave their mark on acclimatized hits. — T.M.
60. Busta Rhymes, “Break Ya Neck” (No. 26, Hot 100)
Plenty of Busta Rhymes singles complete like complete shots of adrenaline, but “Break Ya Neck” is the alone one that commands its adviser to nod their arch rapidly abundant to account absolute harm. With Dr. Dre and Scott Storch teaming up on one of the slinkiest beats of the aboriginal ‘00s, Rhymes unleashes his bullet-time rapping to anesthetic effect; the alone time he pauses in the music video is to aboveboard up and base active with a CGI ram, because he’s artlessly that jacked up. — J. Lipshutz
59. Radiohead, “Pyramid Song” (Did not chart)
Radiohead were in such a recording breadth at the about-face of the aeon that they had abundant extra recordings from the sessions for 2000 masterpiece Kid A to absolution Amnesiac, its lumpier but about as ablaze accompaniment set, just a year later. The best complete cut from the aftereffect was advance distinct “Pyramid Song,” a near-hymnal piano carol with a glace time signature but an assured undertow, with frontman Thom Yorke anecdotic what could be a religious epiphany and/or a suicide attack (“Jumped into the river/ Black-eyed angels swam with me”) in a hauntingly assured tremble. — A.U.
58. Basement Jaxx, “Where’s Your Arch At” (No. 3, Ball Club Songs)
Back in the aboriginal 2000s, we were all ravers for a minute, and this all-around accident by British ball duo Felix Burton and Simon Radcliffe was like a beat-infected bang to the head. Congenital about a glottal sample of New Beachcomber amount Gary Numan’s chilling “M.E.,” it ticks the boxes for a archetypal entry-level dancefloor banger: an easy-and-fun-to-shout chorus, alluring exhausted and of course, a cheeky, batty video in which the musicians comedy record-scratching lab monkeys with animal faces. In accession to its club acclimate success, “Head” additionally hit No. 39 on Billboard’s Accession Songs acclimate in 2001, and still bangs aloof as adamantine today. — G.K.
57. Kenny Chesney, “Don’t Happen Twice” (No. 26, Hot 100)
With bottles of wine, Dixie cups, a little Janis Joplin and a aboriginal love, Kenny Chesney leans heavily on homesickness in “Don’t Happen Twice.” It’s not a new theme for country music, but it works: It’s ardent and contemplative afterwards bottomward into the banal boiler of a banal adulation song. “Twice” accomplished No. 1 on the Hot Country acclimate and No. 26 on the Hot 100 ultimately ambience the date for Chesney’s afterwards run of affected hits from “Young” to “The Acceptable Stuff,” and “Anything But Mine” — proving that while falling in adulation for the aboriginal time alone happens once, abiding success can bang twice, or akin more. — D.W.
56. Andrew W.K., “Party Hard” (Did not chart)
If there was one affair Americans bald in October 2001, it was some abstention and permission to accept fun again. Andrew W.K.’s affair metal canticle and claimed mission account was an complete battering ram of aggressive, over-the-top adamantine rock, a authentic bang of Jackass energy, and absolutely the affectionate of affective force bodies bald at the time. That said, “Party Hard” will abide all of us: Your grandkids will still be anchor pumping to this song at accessory alliance hockey amateur decades from now. — SAMANTHA XU
55. The Corrs, “Breathless” (No. 34, Hot 100)
The Corrs, a quartet of three sisters and their brother, debuted in America in 1995 with all the agreeable agreeableness of their built-in Ireland. That characteristic complete had been thoroughly sanded bottomward by the power-ballad assembly of Robert John “Mutt” Lange (AC/DC, Def Leppard, Foreigner, Shania Twain) for the 2001 absolution of “Breathless” — but the aftereffect was the group’s bigger hit, and one of the year’s best ablaze pop-rock singles. Afterwards a abbreviate a cappella burst, this turn-it-up account of adulation and admiration is ample in arena-ready guitar riffs and booming boom and bass lines, below the Coors’ still-lovely harmonies. The clue ailing at No. 7 on the Developed Top 40 acclimate and acceptable the aggregation a Grammy choice for best pop achievement by a duo or accumulation with vocals. — THOM DUFFY
54. Enya, “Only Time” (No. 10, Hot 100)
Irish icon Enya — who lives an acutely clandestine activity in a accurate castle with her bodies and about £100m affluence to accumulate her aggregation — has continued cornered the bazaar on abstracted new age mini-epics. One of the best memorable of those is acutely “Only Time,” which was heavily acclimated in 9/11 media advantage and in ads for shows like Friends, and still resonates today as a abatement brainwork about the mysteries of life. It’s additionally the alone time (sorry) Enya’s had a top 10 distinct on the Hot 100 as a alone artisan to date. — GAB GINSBERG
53. Missy Elliott feat. Ludacris, “One Minute Man” (No. 15, Hot 100)
After the baking success of Missy’s “Get Ur Aberration On,” she followed it up with the abominable canticle “One Minute Man.” Missy’s demands were straightforward: “Break me off, actualization me what you got.” And she didn’t chip words either — if men bootless to alive up to the expectations, they got the boot. “One Minute Man” was adequate by Timbaland’s electric assembly and a arch actualization from guest-feature adept Ludacris, who debunked any fears of his abilities, dubbing himself an “all-nighter.” — CARL LAMARRE
52. Michael Jackson, “You Bedrock My World” (No. 10, Hot 100)
“You Rock My World” was arguably the final clue of MJ’s career abiding to accomplish every “essentials” playlist — and it came in swinging. The Darkchild-produced almanac was absolutely able with a Chris Tucker intro, thickly stacked, communicable harmonies, a brace “woo”s and abundant “shamone”s to aftermost a lifetime. But if that wasn’t abundant for you, Michael afresh presented us with a star-studded, 13-minute continued music video burdened with his signature spins, pelvic thrusts AND a dance-off/bar action admixture amphitheatre in analogous fedoras. What added could we accept asked for? — N.R.
51. City High, “What Would You Do?” (No. 8, Hot 100)
There are assertive hooks that breeze so able-bodied and so calmly that they get ashore in the apperception afterwards abundant anticipation to them. But admitting its catchiness, the “What Would You Do?” choir is a bit of a Trojan Horse, as the absolute lyrics are devastatingly sad, anecdotic a adolescent distinct mother aggravating annihilation she can to try to accommodate for her adolescent no amount what. What makes it such a abundant 2001 song, admitting — in accession to its soulful and austere arrest of an all too accepted book — is that, centermost through, the song absolutely break bottomward and ambassador Wyclef Jean stitches in a atom of Dr. Dre’s “The Abutting Episode,” absolutely out of larboard field, which somehow weaves itself aback into the angle for the chase to the finish. Bizarre, outlandish, and yet cipher absolutely batted an eye because it formed so well. — D.R.
50. Crazy Town, “Butterfly” (No. 1, Hot 100)
The instantly apparent guitar accession transports you aback to 2001 — and akin aloft that, conceivably to 1989, with its sample of the Red Hot Chili Peppers’ “Pretty Little Ditty” instrumental. With its absolute hook, innuendo-filled lyrics (“Come my lady, you’re my appealing babyish / I’ll accomplish your leg shake, you accomplish me go crazy”) and advancing sample, the song stands as a axiological archetype of the crossover abeyant of the rock-rap genre: Alarm Crazy Boondocks a one-hit admiration if you ambition — but put an accent on “hit,” because “Butterfly” ailing at No. 1 on the Hot 100, article about none of their nu-metal aeon (or akin RHCP themselves) managed. — B.K.
49. Manu Chao, “Me Gustas Tu” (No. 27, Latin Pop Airplay)
With artists such as Aterciopelados, Enanitos Verdes and Jarabe de Palo, Spanish bedrock was accepting a moment in the aboriginal 2000’s — and the allegorical singer-songwriter Manu Chao also did his allotment to help. With basal guitar chords and addictive lyrics, the reggae melody and apple beats in “Me gustas tú” fabricated the song a all-around favorite. In the intro, the French-born artisan connects genitalia of the apple including La Habana, Cuba, San Salvador, El Salvador, and Managua, Nicaragua, to set the bulletin for the blow of the song: “I like planes / I like you / I like to biking / I like you” — a simple but honest and absolute adulation song. — J.R.
48. Lifehouse, “Hanging by a Moment” (No. 2, Hot 100)
Not the best accessible song to end up as the No. 1 on Billboard’s anniversary Hot 100 for 2001 — in ample allotment because the song never absolutely topped the account acclimate — minivan rockers Lifehouse’s blemish accident accomplished aloft through arduous unkillable crossover stubbornness, continuing there until FM admiral fabricated it move. But the song acceptable its overplay, with a lyric that took added than a few listens to absolutely acknowledge itself, a adapted alternation that meant it never absolutely took you breadth you accepted to go, and a leveling choir whose mysteries never cease to artifice and delight. Two decades and hundreds of listens later, we’re still falling akin added in adulation with it every time we apprehend it. — A.U.
47. Blu Cantrell, “Hit ‘Em Up Actualization (Oops!)” (No. 2, Hot 100)
On the calibration of wound-licking elegies to barbarous never-needed-you-anyway anthems, Blu Cantrell’s signature breakdown tune works the middle: activated verses set to a dizzying, chipmunk-soul-style Frank Sinatra sample, an afflicted pre-chorus delivered on the border of an ugly-cry, a burden of boastful spending-spree resolve. Fraud alerts may accept rendered its fantasy void, but its bulletin endures: Balloon blockage accommodating — the best animus is his paper. — N.F.
46. Incubus, “Drive” (No. 9, Hot 100)
This aged ode to breaking chargeless from the masses and demography ascendancy of your own afterlife additionally happens to be the song that the masses angry into Incubus’ bigger hit, council it all the way to the Hot 100 top 10 in the summer of 2001. The song’s chaste acoustic-guitar-and-DJ-scratched clue puts Brandon Boyd’s argumentation articulate advanced and centermost as he wrests aback ascendancy of his activity from abhorrence in the AIM abroad message-worthy lyrics (“Whatever tomorrow brings I’ll be there/ With accessible arms, and accessible eyes”). — K.A.
45. Usher, “U Remind Me” (No. 1, Hot 100)
This breezy-but-melancholy antic led the array of bristles singles spun off from Usher’s multi-platinum 8701 album. He’s singing actuality to a woman who’s bent his eye — but because she reminds him of his ex, he moves on. The Jimmy Jam and Terry Lewis co-produced midtempo jam pinpoints why Usher became an R&B advocate during the genre’s backward ‘90s and aboriginal ’00s heyday, acknowledgment to his affable vocals and adult ball moves a la Michael Jackson. The Hot 100 No. 1 ultimately won Usher his aboriginal Grammy for best macho R&B articulate performance. — G.M.
44. Fatboy Slim, “Weapon of Choice” (Did not chart)
“Weapon of Choice” is maybe the third or fourth best Fatboy Slim song, with its blue boom drag and slamming horn angle — sampled from the Chambers Brothers and Sly & The Family Stone, appropriately — as able-bodied as its Bootsy Collins-provided spoken-word instructions. But it will consistently be affiliated to its allegorical music video, directed by Spike Jonze and starring a airy Christopher Walken dancing and aerial about an alone hotel, accordingly authoritative it the absolute best Fatboy Slim song. Alone audition the song on the radio fabricated you feel like you were missing a basic allotment of the experience; Walken and Jonze should get a cut of the song’s royalties! — S.X.
43. System of a Down, “Chop Suey!” (No. 76, Hot 100)
System of a Down’s metal masterwork only made it to No. 76 on the Hot 100 after it landed on a Bright Channel account of songs that were accounted ambiguous for radio comedy afterward the 9/11 attacks. But in the decades since, audiences did absolutely “wake up!” to the song, whose raucous video hit over a billion views on YouTube at the end of 2020. Produced by Rick Rubin alternating with bandage associates Serj Tankian and Daron Malakian, “Chop Suey!” gives listeners whiplash as it jumps from frantic shouts to stone-faced singing, which gets crowds activity to this day, whether in a mosh pit or in a karaoke room. — C.W.
42. Daft Punk, “Harder, Better, Faster, Stronger” (No. 3, Ball Club Songs)
It’s no abruptness that “Harder, Better, Faster, “Stronger” has advancing redos and remixes from Kanye West, Diplo, The Neptunes and more. Over a sample of Edwin Birdsong’s “Cola Bottle Baby,” the affected toe-tapper walks the bandage amid airy and dystopian, as a vocoder infectiously chants, “More than ever, hour afterwards hour/ Assignment is never over.” The aftereffect is hardly demoralizing, though: The activated song absolutely brightens up every room, and while the remixes are great, annihilation absolutely beats the original. — R.A.
41. Bruce Springsteen, “American Bark (41 Shots) (Live)” (Did not chart)
The abracadabra of that byword –“41 shots…41 shots…” — is afresh by Springsteen and his band, as if in disbelief. It is the assault affection of his black and soulful song about the 1999 killing of Amadou Diallo in a barrage of badge bullets, as the African immigrant accomplished for his wallet in a Bronx doorway. Appear by Bruce via an burning Madison Aboveboard Garden alive recording in 2001 (and as a flat recording in 2014), “American Bark (41 Shots)” was effectively covered in 2016 by Mary J. Blige with an added rap by Kendrick Lamar. The song has, sadly, become alone added accordant through afresh badge killings of Black Americans in the added than two decades aback Springsteen aboriginal performed it. — T.D.
40. Jagged Edge feat. Nelly, “Where the Affair At” (No. 3, Hot 100)
This So So Def accident is the acknowledgment to its own appellation question: The affair is wherever this song is played. It’s all adapted there in an under-four-minute amalgamation — from the sing-along “oh-oh-oh-oh”s to the “left side”/”right side” shout-outs to the call-and-response “hell yeah!”s to blanket it up — so a DJ is about adapted to comedy this summer jam from alpha to finish. And aloof like the choir says, the Hot 100 No. 3 hit can’t possibly balloon about the girls and the thugs, authoritative abiding anybody is covered, acknowledgment to the silky-smooth vocals of Jagged Edge, and a admiration carol from Nelly in his can’t-miss prime. – K.A.
39. The White Stripes, “Hotel Yorba” (Did not chart)
In 2021 absolute few music lovers would catechism the abundance of The White Stripes, but 20 years ago the ascent duo was bedeviled with naysayers aback they hit the boilerplate with “Hotel Yorba.” There were critiques about the abridgement of bass and Meg White’s simplistic drumming, but there was no abstinent that “Yorba,” the aboriginal distinct off White Blood Cells (The White Stripes aboriginal actualization on the Billboard 200 chart) was a antic acceptable time. The agilely thrashing singalong previewed what The White Stripes could do with aloof two instruments and artificial a aisle for one of the greatest bedrock bands of the 21st century. — T.M.
38. Blink-182, “The Bedrock Show” (No. 71, Hot 100)
Mark Hoppus will tell you that “The Bedrock Show,” Blink-182’s advance distinct off of Take Off Your Pants and Jacket, was written in 10 minutes, intended as “the cheesiest, catchiest, throwaway f–king summertime distinct you’ve anytime heard.” He ability not accept meant that absolutely as a compliment, but Hoppus mostly accomplished his ambition — from alpha to end, “The Bedrock Show” is a jam-out, easy-to-swallow pop-punk song based about the simple apriorism of falling in adulation at a concert. Sure, it’s bartering and conventional, but it demonstrates that Blink-182 consistently had a accurate adroitness for autograph the kinds of hooks that abide bound in your academician for years after. — S.D.
37. Darude, “Sandstorm” (No. 83, Hot 100)
Finnish DJ Darude appear “Sandstorm” on wax in 1999, but it wasn’t until he fabricated it accessible on MP3.com for chargeless that this urgent, pulsating abstraction clue – centered about what sounds like a cyborg frog’s assertive robo-ribbit – became one of the aboriginal ball songs to go all-around on the Internet. Abundant like the composition’s heart-pounding peaks and take-a-breather valleys, “Sandstorm” steadily congenital to a feverish pop ability whirl, actualization in the pilot for Showtime’s Queer as Folk, arise the Hot 100 and alive boyish millennials into a footloose diaphoresis acknowledgment to its admittance in the berserk accepted Ball Ball Revolution series; akin now, it charcoal an Internet meme ability mainstay. — J. Lynch
36. Sade, “By Your Side” (No. 75, Hot 100)
After eight years of basic blackout from the admired Sade Adu, a agreeable amount accepted about as abundant for her aloneness as her artistry, we were accustomed the ultimate improvement song. In a affiance to never leave our side, the bandage stepped abroad from their jazz-centric roots, stripping aback to a bare, pop-tinged ballad, absorption Adu’s cottony accent and abating lyrics. While the clue topped out at No. 75 on the Hot 100, it has continued outlived abundant of its competition, reconfirming the British band’s understated, absolute influence. — N.R.
35. Coldplay, “Yellow” (No. 48, Hot 100)
It almost feels arbitrary that “Yellow” served as a advance hit for Coldplay, rather than a distinct that accustomed afterwards the bandage accomplished its ascendant all-around following. Akin if it charcoal one of the group’s best songs to date, it ailing at aloof No. 48 on the Hot 100, admitting its enduring popularity amid admirers and accidental admirers alike. Listen to those well-paced, yearning lyrics! Float to that aerial guitar riff! Look at Chris Martin’s cool smile and windswept hair in the music video! TikTok, do your affair — accord “Yellow” the inescapable bartering moment that it deserves. — J.G.
34. Enrique Iglesias, “Hero” (No. 3, Hot 100)
“Hero” was appear Aug.31, 2001, two weeks above-mentioned to 9/11, and although the song absolutely had annihilation to do with heroic actions, the appellation alone — accompanying with its beefing melody and Iglesias’ croaking articulation — addled a accepted chord. “Hero,” additionally recorded in a Spanish-language adaptation (“Héroe”), rose to No. 3 on the Hot 100, and helped actuate the fortunes of Iglesias’ additional English-language album, Escape, akin authoritative it a attenuate British success for a Latin release. But it was stateside, in the after-effects of 9/11 that “Hero” absolutely fabricated its mark: Iglesias performed the song alive for the aboriginal time at the two-hour advertisement of America: A Accolade to Heroes to over 60 actor viewers. If the accidental adviser mostly knew Iglesias up until to that point as Julio Iglesias’ son, afterwards that night, he artlessly became Enrique. — LEILA COBO
33. OutKast, “So Fresh, So Clean” (No. 30, Hot 100)
Before “drip” stumbled its way into the hip-hop lexicon, aback in the day, bodies accepted their bluster by labeling it as “fresh.” So aback the Atlanta cool duo recorded this around-the-clock ode to style, this was quintessential music for anyone adorable to accession their ego afore a party. Big Boi and Three Stacks ran laps about the funk-forward production, handled by approved collaborators Organized Noize. Not alone did the duo accord the clue a nice A-Town stomping with their Southern flair, but they additionally reminded us how acceptable they looked while accomplishing it. — C.L.
32. Michelle Branch, “Everywhere” (No. 12, Hot 100)
With a appellation apery its success, “Everywhere” by Michelle Branch was absolutely everywhere in 2001. Branch’s adventurous lyrics, able vocals and electric guitar, architecture up to one of the best upbeat pop-rock hooks of its time, still makes us feel like we’re continuing beard besom in hand, assuming for a sold-out actualization to the posters in our room. There are some songs you can’t admonition but belt alternating to, and whether it’s a clue on a bequest playlist or your go-to karaoke number, “Everywhere” reminds us that homesickness lives in the choir of our admired songs. — KATIE SPOLETI
31. No Doubt feat. Bounty Killer, “Hey Baby” (No. 5, Hot 100)
By 2001, No Doubt — and, thus, Gwen Stefani — had already been through a brace lives, so aback Stefani started assuming up on high-profile pop collabs, it hinted at a day aback she ability move aloft No Doubt. But her abutting anthology with the band, Rock Steady, and its accident advance distinct “Hey Baby” accepted that hadn’t appear absolutely yet. Recorded abundantly in Jamaica, its dancehall-centric sounds acquainted like a accustomed abutting footfall aloft the group’s ska roots, and the attendance of dancehall fable Bounty Analgesic on this absonant hit provided an adapted hat tip to the genre. Stefani would try out alone distinction anon afterwards — and face accusations of cultural allotment beneath attenuate than those some critics collapsed at Rock Steady — but at the time, little stood in the way of the album’s commercial access afterwards “Hey Baby.” It’s become No Doubt assize since, a bonafide era in the band’s history. — R.M.
30. *NSYNC, “Gone” (No. 11, Hot 100)
Originally accounting by Timberlake and assistant Wade Robson to be a teamup with Michael Jackson, “Gone” instead concluded up about confined as JT’s alone debut, with the blow of *NSYNC about confined as his abetment choir on the song’s chorus. Timberlake can’t be too atoning about how that angry out, as the acoustic bake song about accepted he was accessible for the spotlight on his lonesome, with a ablaze articulate achievement that twists the knife added with every ad lib (“My best to be a maaaaaannnn!!!”) But don’t balloon about the blow of the accumulation aloof yet, aback it’s their ghostly, falsetto’d “GONE!” gasps that absolutely accomplish this one complete like a breakdown carol from aloft the grave. — A.U.
29. Ludacris, “Rollout (My Business)” (No. 17, Hot 100)
When you’re in the accessible eye, admirers apprehend to apperceive absolutely aggregate about your life, from how abundant money you’re spending and who you’re dating to breadth you go arcade or, simply, what in the apple is in that BAG? Ludacris has a simple acknowledgment to all those prying questions in this amusing clapback of a song: “Stay the f–k up out my BIZ-NESS.” Over a about assault Timbaland beat, the Atlanta rapper shoots bottomward busybodies with crack afterwards one-liner, assuming off his complete alloy of agreeable abilities and laugh-out-loud faculty of humor. — K.A.
28. Dido, “Thank You” (No. 3, Hot 100)
We “Stan” Eminem for bringing Dido’s ode to much-needed accord comforts to the absorption of U.S. audiences, but the English artisan gets all the acclaim for autograph a tune that still endures on its own. Her hit’s affair of accepting a no good, absolute bad day brightened by a alarm from a admired one continues to resonate, abnormally during a all-around pandemic. So abundant so, Anuel AA adopted the aching exhausted for his 2020 clue “Me Contagie 2” to sing about his own solitude. — ANNA CHAN
27. Gorillaz, “Clint Eastwood” (No. 57, Hot 100)
Blur frontman Damon Albarn got it adapted on the aboriginal try on his additional time about with “Clint Eastwood,” admission distinct from his then-new basic supergroup’s self-titled admission album. An eerie, alluring alloy of reggae, electronic, alarm and hip-hop — with activated confined from Del The Blue Homosapien — “Clint Eastwood” articulate like annihilation abroad that came afore it, and annihilation has absolutely akin it since. Commutual with a awful animation music video, the song became Gorillaz’ aboriginal access on the Hot 100, breadth it ailing at No. 57 and became an capital architecture block in music history, akin afore the collective’s ablaze abutting two decades. — T.C.
26. The Shins, “New Slang” (Did not chart)
As the adventure goes, James Mercer’s bandage Flake opened for Modest Mouse on a few tours in the backward ‘90s, and Mercer anesthetized Isaac Brock a austere CD of his then-side activity alleged The Shins. It included “New Slang,” a folk-leaning clue about absent to leave aggregate behind, in admirers form; Brock gave the CD to Jonathan Poneman at Sub Pop, who bound active The Shins, as anyone in their adapted apperception would do. A few years and 100,000 annal awash later, the song was admired abundant to accomplish a key actualization in 2004’s Garden State — not alone on the Grammy-winning soundtrack, but absolutely accounting into the calligraphy for Natalie Portman’s character to babble about — and The Shins had a accurate stealth hit. Twenty years later, the complete of Mercer’s abstract vocals over agreeable acoustic guitar is aloof as affecting. — G.G.
25. Nelly Furtado, “I’m Like a Bird” (No. 9, Hot 100)
Nelly Furtado appeared to appear out of boilerplate in 2001, acceptable a analytical and bartering awareness about instantly. But the accessible lyrics of her advance hit (“And admitting my adulation is true, yeah / I’m aloof afraid / That we may abatement through”) commutual with a folk-hop animation and the crystal clear crescendo of her “I’m like a bird” declaration, fabricated it a standout on top 40 radio that year. The song was assertive in 2001, activity on to acquire several Grammy nominations and a win for best changeable pop articulate performance. It’s adamantine to accept it never accomplished the top bristles of the Hot 100, but luckily, the apple had yet to see the aftermost of Nelly Furtado. — B.K.
24. Train, “Drops of Jupiter (Tell Me)” (No. 5, Hot 100)
Iconic lyrics? Check: From planetary imagery to added earthbound references to absurd craven and soy lattes, “Jupiter” has article for everyone. A affecting backstory? Check: Pat Monahan recently told Billboard that he wrote the song afterwards the afterlife of his mother from cancer. A feel good, upbeat bounce that reminds you of a ablaze Spring day? Check. Winning two Grammys (best bedrock song and best instrumental accompanying vocalists) and nominated for three others, “Drops” additionally accomplished No. 5 on the Hot 100, while additionally accepting abundant analytical derision for its accessible abridgement of self-consciousness. But acquaint me, in the aftermost two decades, did you anytime get a adventitious to get this song out of your head? — D.W.
23. Jennifer Lopez feat. Ja Rule, “I’m Complete (Murda Remix)” (No. 1, Hot 100)
If you were a 12-year-old in 2001, you apparently acclimated to abash J-Lo’s accepted R-U-L-E bandage in “I’m Real” with “Are you Ellie?” Admitting it may accept taken us a while to annals her shout-out to Ja Rule, it didn’t booty continued to acknowledge the analgesic remix orchestrated by Irv Gotti and company. Lopez’s “Jenny From The Block” angel meshed altogether with Ja’s artery abode and propelled the song into aristocratic breadth during the summer of ’01. Admitting advancing from two altered agreeable worlds, Ja and Jenny’s adapted allure and back-and-forth role-play were aloft irresistible. — C.L.
22. Destiny’s Child, “Bootylicious” (No. 1, Hot 100)
When the song “Bootylicious” came with the abnegation “I don’t anticipate they can handle this,” admirers should accept accepted Destiny’s Adolescent was activity to deliver. The clue off their third flat anthology Survivor sampled Stevie Nicks’ “Edge of Seventeen” and bound became one of Afterlife Child’s abounding archetypal songs of claimed accession and self-worth. While the appellation “Bootylicious” had been acclimated as a analytical appellation afore the single, Destiny’s Adolescent reclaimed it with lyrics adulatory women’s bodies and sexuality. And of course, afterward the single, the appellation had to be added into the Oxford English Dictionary — as an adjective acceptation “sexually attractive.” — T.M.
21. Janet Jackson, “All For You” (No. 1, Hot 100)
This adumbration dance-pop track, produced by Jackson alternating with Jimmy Jam and Terry Lewis, accustomed not alone as a certified hit (it climbed to No. 1 on the Hot 100), but additionally a can’t-miss rulebook for flirting. “Don’t try to be all clever, cute, or akin sly/ Don’t accept to assignment that hard/ Aloof be yourself and let that be your guide,” Jackson instructs over a admiring post-disco groove, aerial from Change’s “The Glow of Love.” It’s a allegiant agreeable architecture that still reigns today (see: Dua Lipa’s “New Rules”) and will absolutely abide for years to appear because let’s face it, anybody could use a little admonition in that breadth — and akin added so afterwards a year of isolation. — LYNDSEY HAVENS
20. Sum 41, “Fat Lip” (No. 66, Hot 100)
When Sum 41 exploded assimilate the amphitheatre with the iconic guitar riff that bliss off “Fat Lip,” they became the affiche boys for the antecedent of skater punk, rap-rock (though decidedly not the Limp Bizkit kind) and metal attitudes that authentic turn-of-the-century Island Records. The anti-establishment appearance of its lyrics — “I’ll never abatement in bandage / Become accession victim of your conformity” — and its clear-eyed alpha (“Heavy metal and mullets, it’s how we were raised/ Beginning and Priest were the gods that we praised”) helped to ascertain the pillars about which an complete burghal music amphitheatre rose. Maybe the best allotment of the song is its bridge, a lilting, atrocious abandonment from its adulterated ability chords, which is about befuddled absolutely out the window with the abounding mosh of the song’s third verse. For a minute there, Sum 41 authentic bedrock music — and to a assertive age group, it apparently still does. — D.R.
19. P!nk, “Get the Affair Started” (No. 4, Hot 100)
In a time aback pop and rock were assertive the airwaves, P!nk decided to ditch her R&B stylings and reinvent herself. “Get the Affair Started” served as her arrival into this new sound, with its aperture curve “I’m advancing up, so you bigger get this affair started” announcing her as the abutting big affair in the mainstream. Written and produced by soon-to-be-certified hitmaker Linda Perry, “Get the Affair Started” alloyed pop with bedrock with ball with funk, all to accomplish for an communicable clue that would take P!nk from being “that added one on ‘Lady Marmalade’” to a pop culture mainstay. — S.D.
18. Mary J. Blige, “Family Affair” (No. 1, Hot 100)
When “Family Affair” was appear in 2001, Mary J. Blige had been a accepted abundance in music for about a decade, her albums acceptable hardcore R&B admirers while bearing the casual crossover hit, like “Real Love” or “Not Gon’ Cry.” Yet “Family Affair,” her aboriginal (and to date only) Hot 100 chart-topper, alien her as a full-fledged pop star. A ball cut abode of ambassador Dr. Dre, with cord stabs and a bumping rhythm, “Family Affair” accustomed Blige to inject her soulful articulation into top 40 radio catchphrases like “Don’t allegation no hateration, holleration in this dancery,” and highlight ball parties in the boilerplate of a career abounding of best apathetic jams. — J. Lipshutz
17. Linkin Park, “In the End” (No. 2, Hot 100)
You could say that “In the End” has taken on new resonance aback the afterlife of Linkin Park advance accompanist Chester Bennington, and you absolutely wouldn’t be amiss — but you’d additionally be implying that there was anytime a time aback “In the End” wasn’t absolutely devastating. That said, the fourth distinct off the band’s Hybrid Theory admission took them to new heights on the Hot 100 akin as it plumbed new affecting lows for boilerplate rock, because its almighty articulate interplay, ablaze adapted layering and amazing assembly abyss all culminated in an canticle for abasement that couldn’t admonition still be alarming and life-affirming through its arduous magnificence. In the end, it may or may not accept mattered for Bennington himself, but for tens of millions of Linkin Park fans, it consistently will. — A.U.
16. Aaliyah, “Rock the Boat” (No. 14, Hot 100)
If Aaliyah’s aboriginal two albums’ account of hits as she rose to superstardom weren’t mesmerizing enough, her third album’s “Rock the Boat” certainly does the trick. The hypnotizing groove and animal lyrics radiate the ultimate laid aback vibe, which the beachside music video Hype Williams shot in the Bahamas expertly captures. Unfortunately, an airplane accident after filming this very video would result in the Princess of R&B’s tragic death on Aug. 25, 2001. But the Grammy-nominated song lives on, via samples on Kanye West’s “Fade” and The Weeknd’s “What You Need.” — HERAN MAMO
15. Weezer, “Island in the Sun” (No. 11, Accession Airplay)
Coming on the heels of 1996’s Pinkerton — abundantly a critical/commercial flop-turned-cult-favorite — Rivers Cuomo basically gave up and said, “You appetite a f–king pop album? Fine. I’ll accomplish you a f–king pop album.” So Weezer reunited with Blue Anthology ambassador Ric Ocasek, fabricated accession self-titled set (this one frequently referred to as the Green Album), and appear three befuddled singles, including the transportive “Island in the Sun.” The upbeat yet aloft tune spawned two music videos (three, if you calculation the secret Dave Grohl one), got a performance with Will Ferrell on Saturday Night Live, and at one point, was the band’s most-licensed track. For some aloof fans, it was the attach in the sellout coffin. For the blow of us, we account it as the around-the-clock feel-good vacation canticle it was consistently meant to be. Hip hip! — G.G.
14. Usher, “U Got It Bad” (No. 1, Hot 100)
With a alone wind bawl at the top, a skittering 808 rhythm, a music video starring TLC’s Chilli and a fourth-quarter guitar alone you apparently forgot about, “U Got It Bad” was a answerable hit on cardboard – but in Usher’s hands, it was animated to R&B Heartbreak Valhalla. There’s a aseptic dash to his performance, with his soft, affected articulate carrying a fractured, hawkeye affecting accompaniment afterwards anytime delving into histrionics, or akin ascent aloft a absorbed croon; aback his articulation does hop up for a half-second (“If you absence a DAY afterwards your acquaintance your accomplished life’s off track”), it easygoing rends your heart. No surprise, it became his third Hot 100 No. 1, aloof a few months afterwards his 21st birthday. — J. Lynch
13. Nelly feat. City Spud, “Ride Wit Me” (No. 3, Hot 100)
From the moment that the aperture guitar riff hits, it’s a party. “Ride Wit Me” is blowzy with lyrics abreast to get ashore in your head until the abutting time you get to scream them at abounding volume, from its DeBarge-interpolating line “I like the way you besom your hair/And I like those beautiful clothes you wear,” to its tongue-in-cheek aggravate “I apperceive article that you don’t know/And I’ve got article to tell ya,” to, of course, its anthemic “Hey, allegation be the money!” Combine that with a radio-friendly angle and acclamation assembly to accumulate admirers grounded, and you accept an undeniable, career-defining hit. — J.G.
12. Christina Aguilera, Lil Kim, Mya, & P!nk, “Lady Marmalade” (No. 1, Hot 100)
As is accurate of any acknowledged sports team, ablaze ability and agenda antithesis goes a continued way — and aback you accept an all-star calendar of Xtina, Lil Kim, Mya and P!nk (plus assembly from Missy Elliott and Rockwilder) it’s abreast absurd to lose. Originally recorded by Labelle in 1974 (and afterwards rerecorded in 1998 by All Saints), “Lady Marmalade” can be advised a rite of access in accepted music. And not alone did this adapted version, which added hip-hop to the original’s blubbery brew, account from its affiliation with Moulin Rouge! — the hit soundtrack for which it was recorded — but with four assertive choir roaring alongside anniversary added and adorning one another’s games, there was no way to avoid it, as the song topped the Hot 100 for the additional time. — L.H.
11. Shaggy feat. Ricardo “RikRok” Ducent, “It Wasn’t Me” (No. 1, Hot 100)
You apperceive you’ve landed on a consistently canticle aback the appellation of your bigger hit becomes a all-around autograph for animal indiscretion. Reggae pop adept Shaggy assuredly bankrupt through in 2000 with this all-around No. 1, a bouncy, beat-heavy song featuring a absolutely relatable scenario: one bud allurement accession what to do aback your lover finds out you’ve absent with the babe abutting door. Shaggy, in his signature throaty, just-drank-milk voice, offers up his simple, base deny, deny, abjure admonition to every one of RikRok’s scenarios: “It wasn’t me.” The appellation contrivance has become so all-over that Slate writer Josh Levin coined the byword “Shaggy Defense” to call aback accession — say, R. Kelly, or ashamed Virginia Gov. Ralph Northam — tries to baldly abjure affirmation that is acutely damning. Bangs on the archive and below the gavel. — G.K.
10. Jay-Z, “Izzo (H.O.V.A.)” (No. 8, Hot 100)
In 2001, the self-proclaimed 8th Admiration of the Apple delivered a beating over a soulful, Jackson 5-lifting Kanye West exhausted with this burning canticle from his game-changing Acclimate LP. Penciling a glossy singsong angle for the Hot 100 top 10 hit — his aboriginal as a advance artisan — Hov accomplished adolescent acceptance on the do’s and don’t’s of the street. Whether absorption on his ancient accuse or old biologic ambidextrous ways, Jay acclaimed his triumphs and newfound music ascendancy with brave confidence, proving he had the ability to accomplish his haters abandon in a flash, like “Poof — Vamoose, son of a b–ch.” — C.L.
9. The Strokes, “Last Nite” (No. 5, Accession Airplay)
The one-note aperture riff of the Strokes’ Is This It hit is instantly recognizable, akin two decades later. In an era breadth bendable bedrock and nu-metal were assertive in accepted music, “Last Nite” injected some fun aback into bedrock – acknowledgment to Nick Valensi’s bluesy, ablaze guitar alone and Julian Casablancas’ bawl vocals. And while the angsty lyrics complaining activity depressed, blurred and abashed (“Well, I’ve been in boondocks for aloof about 15 accomplished account now/ And baby, I feel so down/ And I don’t apperceive why”), the song’s active attributes makes it complete for drunkenly singing at a bar with friends, creating a timeless, healing juxtaposition. — R.A.
8. Alicia Keys, “Fallin'” (No. 1, Hot 100)
Alicia Keys knew how to accomplish an entrance. From the aperture a cappella addendum of the aboriginal distinct from her admission album, Songs in A Minor, she silenced the room with her absolute articulate run, turning “in” into a 10-syllable word. The thumping track seemingly interpolated James Brown’s “It’s a Man’s, Man’s, Man’s World,” but “Fallin’,” accounting and produced by Keys, showed how the 20-year-old was out to accomplish it all her own. In accession to her soulful voice, the singer/songwriter brought her classical piano training to the table, and filled the blow of the seats with strings, able advancement singers and a bulletin of love’s alluring magnetism. According to Keys, people told her the song wouldn’t assignment as a distinct — but six weeks at No. 1 and bristles Grammy wins (three for “Fallin'”) later, detractors and admirers akin knew whose apple it absolutely was. — C.W.
7. Eve feat. Gwen Stefani, “Let Me Blow Ya Mind” (No. 2, Hot 100)
When a brace of music icons action to actualization off their talents, it’s best to booty the invitation. Gwen’s breathy, slowed-down choir (“It took a while to get me here, and I’m gonna booty my ti-i-ime”) is the complete accompaniment to Eve’s effortless swagger, as she brag-raps about bottomward glasses and afraid asses over one of ambassador Dr. Dre’s best beats, consistent in aloof below four account of authentic sonic braggadocio. That’s not to acknowledgment the song’s antic music video, in which the duo — Eve with a hot blush brownie cut, Gwen in a signature bikini top — cycle up to a academic affair on motorcycles, and get escorted out by police. Amid the best changeable hip-hop collaborations out there, “Let Me Blow Ya Mind” ailing at No. 2 on the Hot 100 and acceptable the countdown Grammy Award for best rap/sung collaboration. — T.C.
6. Daft Punk, “One Added Time” (No. 61, Hot 100)
It’s adamantine to bethink now how abominable “One Added Time” was aloft its turn-of-the-century release: Daft Jailbait had fabricated their name a half-decade beforehand with a alternation of growling, awful abode scorchers that placed them at dance’s beat — authoritative their acknowledgment with this atrociously abominable uber-pop canticle an abrupt one, to say the least. But as always, the Robots were artlessly advanced of the game: The ablaze “One Added Time” was the complete song to advance the allegation in the ’00s appear a added advanced appearance of genres like disco, soft-rock, R&B and bubblegum pop as actuality aloof as potentially cutting-edge as annihilation with loud guitars, slamming beats or acerb synths. And if it jarred at first, it accepted alluring bound thereafter, as its relentlessly absence canal and Auto-Tuned Romanthony vocals popped added into your bloodstream with anniversary “We don’t stop-puh… You can’t stop-puh…” croon. — A.U.
5. Shakira, “Whenever, Wherever” (No. 6, Hot 100)
Shakira’s beginning English accent distinct was a accident that became her aboriginal charting appellation on the Hot 100. The advance distinct from her crossover English album, Laundry Service, Shakira wrote the lyrics aboriginal in Spanish, at a time aback her English was still “precarious.” She asked pal Gloria Estefan to acclimate the words to English –the alone song breadth she bald that boost. “It was the affectionate of advance I bald to jump into the baptize and activate to bathe [in English] on my own,” Shakira said last year. With its Andean chart (which Shakira insisted on), its different lyrics (“Lucky that my breasts are baby and humble, so you don’t abash them with mountains”), and the constant angel of Shakira dancing off a bluff in the music video, “Whenever, Wherever” not alone launched her all-embracing distinction but endured: Following Shakira’s 2020 Cool Bowl performance, it was the best streamed song of the halftime show. — L.C.
4. Destiny’s Child, “Survivor” (No. 2, Hot 100)
One of the greatest babe accumulation songs anytime came about during one of the best agitated times in Destiny’s Child’s career: Their consistently alternating agenda of associates had ultimately landed on Beyoncé, Kelly Rowland and Michelle Williams as a trio, while alluring snarky comparisons from assemblage to the TV alternation Survivor. Beyoncé & Co. addled the animadversion into a Grammy-winning triumph, with a accident that additionally accomplished No. 2 on the Hot 100. “Survivor” might’ve had a music video evocative of the absoluteness TV hit it aggregate its name with, breadth the three acquisition themselves ashore on an alone island. But the song was added notable for reinforcing the group’s acquaintance bond, as able-bodied as afterwards confined as “a apparatus for civic grief” in the after-effects of 9/11, according to music administrator John Houlihan. Today, it charcoal one of the 21st century’s ultimate changeable empowerment anthems. — H.M.
3. Britney Spears, “I’m a Slave 4 U” (No. 27, Hot 100)
“All you bodies attending at me like I’m a little girl,” Britney Spears cooed aback in 2001. “Well, did you anytime anticipate it’d be accept for me to footfall into this world?” In the aperture curve of “I’m a Slave 4 U,” the 19-year-old pop phenom fabricated like the Burmese python that would anon be captivated about her shoulders and afford her skin. Gone was the test group-approved girl abutting door, now replaced by a adolescent woman all-embracing her animal power, like it or not. Oozing with a hip-hop-meets-electronic acidity that was originally advised for Janet Jackson, “Slave 4 U” bedevilled a grown-up, adult affection that singles like “Oops I Did It Again” and “Lucky” from aloof one year above-mentioned did not. Naturally, the distinct (and Britney’s iconic performance at the 2001 VMAs) immediately garnered altercation for the sexualization of America’s sweetheart. But adorable back, it’s bright that not alone is “I’m a Slave 4 U” one of Britney Spears’ greatest singles, it additionally blazed a new path for pop stars of the future, absolution the apple apperceive that how an artisan chooses to accurate themselves is absolutely up to them, whether or not you “like that.” — S.D.
2. OutKast, “Ms. Jackson” (No. 1, Hot 100)
Stankonia’s additional distinct “Ms. Jackson” became OutKast’s aboriginal Hot 100 No. 1 in Feb. 2001, belatedly blame the Atlanta duo into the pop boilerplate afterwards seven years of consistently adopting the bar for Southern rap. Over a syncopated drumbeat, a angled sample of Brothers Johnson’s awning of Shuggie Otis’ “Strawberry Letter 23” and a cautiously bottomward piano riff, André and Antwon candidly abode their “baby mamas’ mamas,” with the above alms an atoning olive annex (to Erykah Badu’s mom, FTR) while the closing taunts and castigates. If Big Boi is a firm, anchored mountain, André 3000 is the ever-shifting river abounding about him, gradually acerbic some of the hardness. Add in that aloft canal and a few antic touches — from the yipping puppy to the Little Richard-styled oooo to a bleared guitar piss booty on Wagner’s Bridal March at 3:00 – and “Jackson” charcoal an archetype of OutKast’s affectionate yin-yang chemistry. — J. Lynch
1. Missy Elliott, “Get Ur Aberration On” (No. 7, Hot 100)
When asked about the sexual-sounding appellation of “Get Ur Freak On,” Missy Elliott said in a 2007 Blender account that the byword is a lot added able than that. “It could be about dancing, the bedroom, whatever. You’re charwoman your house? Get your aberration on!”
And that’s absolutely what Missy and Timbaland did aback they let their aberration flags fly and created this unstoppable (and unmatchable) smash. While Elliott had little larboard to prove afterward back-to-back top 10 Billboard 200 albums, she’s acutely allergic to continuing still, so she and Timbaland did what they do best on the advance distinct for her third album Miss E… So Addictive: They fabricated a trailblazingly camp song that concluded up ambience the accent and the trends in pop and hip-hop for years to come.
The song’s all-around abode begins with the abounding all-embracing sounds pulled calm through Missy and Tim’s production, best conspicuously its arresting Punjabi melody, as able-bodied as a sample of a Hindi-language new-age song and Japanese phrases bookending the track. Afresh there are the instantly quotable lyrics (“Is that your chiiiiiiiick?” in the radio version) and left-field articulate choices brindled throughout, like the shushing afterwards “qui-et” or the hocked loogie afterward “spit it out.” All these elements ability not complete like the adequacy of an R&B/Hip-Hop Airplay chart-topper or best rap alone achievement Grammy champ (especially the loogie bit), but in the cocky aesthetic easily of Missy and Timbaland, they add up to a stone-cold hit.
Of course, Elliott has consistently been a beheld artist, so the anesthetic music video, abounding of corrective dancers and endless cameos (Ludacris, Ja Rule, Eve, LL Cool J, etc.), became an burning MTV admired and is accordingly affiliated with the song itself. Accepting lived with the song for 20 years, it’s adamantine to anticipate aback to audition it (or seeing the video) for the absolute aboriginal time and anamnesis aloof how mind-blowingly avant-garde it was. That’s because — admitting Elliott’s admonishing that she’s “copywritten, so don’t archetype me” — two decades of songs aback accept aimed to anamnesis the hit’s manic-but-controlled energy, to capricious degrees of success.
But attempts at apery are fruitless: “Get Ur Freak On” is the assignment of an artisan at the aiguille of her ability whose aloofness in afterward any array of playbook led to her afterlight the top 40 rules altogether. The track’s constant abode became bright in 2015 aback Elliott abutting Katy Perry on the Super Bowl halftime stage to accomplish a assortment of hits, and “Get Ur Freak On” afterwards re-entered the Hot 100 top 40 — proving the song hasn’t absent any calefaction over the years, and in actuality still has the ability to affect a new admirers to amount out how to get their own aberration on. – K.A.
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